Top Ten Tuesday: Anderson .Paak - HipHop | HipHop Channel

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Top Ten Tuesday: Anderson .Paak - HipHop

Top Ten Tuesday: Anderson .Paak - HipHop

Top Ten Tuesday: Anderson .Paak

Posted: 21 Apr 2020 07:35 AM PDT

Here's how this works:

• One song per comment.

• The thread will be put into contest mode (randomized comment order).

• Upvote the songs you like.

• Please don't downvote!

• Search/use ctrl+f to see if anyone posted the song already.

• Try to limit yourself to posting one or two songs.

• Please post a link with your song.

• The 10 songs with the most upvotes will be HHH Top Ten.

• Have fun!

Here is is our spreadsheet with all past results, made by /u/elektrikg33k.

Our upcoming schedule:

04/21/20 - Anderson .Paak

05/05/20 - Lil Uzi Vert

────────

https://en.wikipedia.org/wiki/Anderson_Paak_discography

please take 5 seconds to ctrl+f the thread to see your song has already been posted

we've officially on a bi-weekly schedule

and as always pm me if you want to see a certain artist here

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Daily Discussion Thread 04/21/2020

Posted: 21 Apr 2020 03:50 PM PDT

Welcome to the /r/hiphopheads daily discussion thread!

This thread is for:

  • objective questions with right/wrong answers (e.g. "Does anyone know what is happening with MIXTAPE?", "What is the sample in SONG?")
  • general hip-hop discussion
  • meta posts...e.g. ideas for the sub

Thread Guidelines

  • Do not create a separate self post for these types of discussions outside of this thread - if you do, your post will be removed, as stated in the guidelines.

  • Please be helpful and friendly.

  • If a question has been asked many times before, provide a link to a thread that contains the answer.

Weekly/Monthly Threads

Other ways to interact

There are a number of other ways to interact with other members of HHH:

New to /r/hiphopheads or hip-hop in general?

Check out these:

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[FRESH] Isaiah Rashad - Why Worry

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Lupe Fiasco - WAV Files

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[FRESH VIDEO] Lil Uzi Vert - Bean (Kobe) feat. Chief Keef [Official Lyric Video]

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Eminem Donated Spaghetti Cups to DMC Hospital Healthcare Workers in Detroit

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[FRESH VIDEO] - Hopsin - Covid Mansion

Posted: 21 Apr 2020 08:33 AM PDT

Trippie Redd - Topanga

Posted: 21 Apr 2020 08:57 AM PDT

The Alchemist DJ Set for Weedmaps 4/20 celebration last night - Unreleased DOOM Verse Over 'Terry' Instrumental at 5:10

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[FRESH] J. Cole & DJ Critical Hype - In Search Of...Cole

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[LEAK] Young Thug - Die For You

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Isaiah Rashad - Hiii (Fuck Love)

Posted: 21 Apr 2020 06:41 PM PDT

Throwback Write-Up #5: Mos Def - Black on Both Sides

Posted: 21 Apr 2020 07:47 AM PDT

Artist: Mos Def

Album: Black On Both Sides

Listen:

Spotify

Apple Music

Tidal

Google Play

Youtube

Background:

Before he was Yasiin Bey, Dante Terrell Smith took the name of Mos Def. The moniker either refers to the "daily word" frequently spoken in Brooklyn (an abbreviation of 'most definitely'), or as Mos himself has stated, suggests he is the most 'def' (def meaning 'groovy'). Either way the rapper has proved time and time again that this name is one to be included within lists of hip hop greats. He made his first notable appearances on wax in 1996, featuring on tracks with De La Soul and Da Bush Babees, before his debut single 'Universal Magnetic' dropped in '97, appearing on Rawkus Records' 'Soundbombing' album. Shortly after this he signed with Rawkus, forming the rap group Black Star with Talib Kweli and releasing their 1998 classic 'Mos Def & Talib Kweli Are Black Star'. After this Mos began to record his solo debut, which finally dropped in October 1999, titled 'Black On Both Sides'.

Review:

The cover of the album depicts the face of Mos Def, staring blankly into the camera. The close up makes no effort to obscure any of his features, portraying the intricacies of his identity in vivid detail. Turning the album over we can see the same is present on the alternate side, his cornrows in full display and a thin gold chain adorning the back of his neck. With both sides together we are given the complete image, nothing is hidden. Here Mos displays this unobscured image of himself proudly, as a rapper, as an African American, and as the culture of Hip Hop. This sets up the album as an unfiltered look into Mos Def's mind, as the artist navigates a world that often treats him based on the colour of his skin.

Pressing play the album begins with Mos Def uttering the words "Bismillah ir Rahman ir Raheem", an Islamic phrase translated as "In The Name Of God, Most Gracious, Most Passionate", most often spoken before embarking on a significant endeavour or journey. This is followed by the emergence of loud, booming drums; just a kick, a snare and silence, before the bass line begins playing underneath. Some may recognise the this as a sample of Fela Kuti's 1977 'Fear Not For Man', which sees the legendary Afrobeat musician attempting to tell black people all over the world that "The secret of life is to have no fear". Mos spins this concept into the title of his own track, 'Fear Not Of Man', addressing a similar line of thought. Following this Mos begins simply speaking over these instruments, referencing the changing world as the 21st Century will soon begin. These changing times leads to a fear of the unknown and uncertainty for many. He continues by introducing the people's fears about Hip Hop, as a culture facing this new century. He himself believes hip hop is "gonna be alright", having no worries for the future of the culture. But others believe hip hop is like a "giant living in the hillside", an unknown entity, looming over them. This makes the future of the increasingly growing culture seem delicate, prone to the consequences of a small change. Overall the track's message is to not fear this change, to not fear the music and especially not to fear the man who brings either.

This sentiment leads into the next track, 'Hip Hop'. It immediately erupts into triumphant horns (with production by Diamond D), as if the song is a celebration of this specific genre of music. The track explores the intricacies of hip hop, with Mos describing his writing as "literature" and a "hammer" that bangs the earth into shape. It is clear he views his raps as a crucial tool in his and other African American's survival within the modern world. As Mos puts it, the music they make marks their journey from "picking cotton" to "hip-hopping", and the freedom this progression has entailed. However there is still a lot of progress left to be desired. The verse ends with the rapper comparing this music industry to a "cell block", that even in success these artists are not truly free. The track ends stating all the great things hip hop can do, "amaze you, praise you, pay you", followed by Mos' final statement "But black, it cant save you".

The following track, 'Love', takes a more introspective look at Mos Def's own journey, as the artist describes his personal experiences of love. He speaks on the love of his parents, his love for music, emceeing and his own ability to write. The hook refers to writing rhymes as "I sink, into the paper, like I was ink", a blissful feeling of exercising your talents and creating something vivid and powerful. Mos uses this love for rap to motivate himself, pushing his talents ever further. It conveys the emotion of love as a powerful and driving forces, capable of giving us contentment in life. Continuing the theme of love is the next track, Mos' story telling classic, 'Ms Fat Booty', which was also the first single for the album. Produced by Ayatollah it is based around a chopped Aretha Franklin sample, with Mos' verses weaving in and out of her vocals. In the track Mos recounts falling in love with a woman, describing their dancing, conversation and singing to each other. However, this love does not last, and after continually avoiding him, telling him she can't commit, one of Mos' friends sees this woman with another man. Overall the track conveys the excitement of romantic love, as the rapper chooses not to focus too much on the heartbreak that comes as a result. After the final revelation it moves straight into the next track.

"Relax". The opening word is a direct command to the listener, as it sounds over a roaring engine underlined with drums. Throughout 'Speed Law' Mos repeatedly tells those around him to slow down and and quit speeding. The rapper feels he can assert his own dominance based on the fact he can stay calm, and ease back from problems before making the mistakes that others do. He compares them to speeding drivers, pushing too hard until you "crash your whip" whilst he himself remains permanent like "tattoos and birth marks, third degree burn marks". The following track, 'Do It Now' (featuring Busta Rhymes), then goes on to give an alternative approach. The title and hook call for no hesitation, with the duo of emcees ready to take action now. Either way Mos asserts that even with no preparation he comes out on top of other rappers, finding the balance between easing back and pushing forward. Ultimately there is always a time to hold back, but being down for so long leaves those at the bottom of society restless for action, and after so long of assessing the situation it is the present that this action can be taken, without any mistake.

Produced by Ali Shaheed Muhammad of ATCQ, 'Got' features descriptions of the dangers Mos faces in his world, dangers of which he is aware but many others are not. In the first verse he tells of those robbed whilst hustling and flashing jewellery, as well as those believing they're invincible, then getting "got" simply as a matter of the robbers' principles. The message being that extravagance with the sole purpose of making others jealous may just cause people to act on that jealousy. The second verse then details similar predicaments, describing the victims' unawareness in calling out "player haters" when they're really dealing with killers. This is because so many are hungry, forced to steal in order to survive, that they might just take what you've got if you flash your wealth too much. The message of the track is that these people aren't bad people, but that the crime they commit is a direct result of the great discrepancies in wealth in the world.

'Umi Says' is essentially Mos Def's venture into soul music, in the same vein as Marvin Gaye or Al Green, featuring the artist singing of the wisdom passed onto him. As the titled suggests it describes the words of his Umi and Abi, Arabic for Mother and Father. At 19 years old Mos took his shahada, the declaration of faith that marks one's Islamic beliefs. Throughout the album he references God, using his religion to shine positivity and acceptance into the world. Singing soulfully over a now iconic bass line (played by Mos himself) he tells of how his parents gave him the wisdom required to convey his various messages through his music, preaching seemingly distant ideals such as peace, understanding and unity. This focus also allows him him to see through the clouds of doubt and discouragement he encounters, instead moving into the moment and maintaining an impact on the world. The song closes with Mos sharing this same wisdom to all black people, with his vision of a better tomorrow.

Covering 71% of the Earth's surface water is truly vital to the survival of life on this planet. It is just as vital in the modern, more economics based world, contributing to ever increasing agriculture, fishing industries and transport. And of course, we drink it everyday. Mos covers an abundance of these issues in his reflection on the state of the world, the track 'New World Water'. He speaks of the destruction it causes, describing powerful tidal waves or the seas that carried slave ships, before going on to describe it countering this destruction, in putting out the fires of the earth. He returns to the idea of a changing world, the water we need to survive is full of chemicals, oil spills and plastics; irreversibly damaging the planet. Once again Mos touches on a fear of the future, the looming threat of rising tides, pollution and the power that water could really hold. The track ends with an interpolation of Wu-Tang's "Cash Rules Everything Around Me", a call to the the grim reality of monetised water and the consequences it brings.

Mos spends most of the album musing on the state of hip hop, however on this track, 'Rock n Roll', he turns his attention to the music of the past and the history of his own sound. This song acts as an ode to all the black rock stars he idolises, artists repeatedly appropriated and overlooked in the genre as a whole. The roots of Rock can be traced back to pioneering African American artists such as Chuck Berry or Bo Diddley, both of which are shouted on the track, as Mos states they are Rock n Roll (just as Mos Def considers himself Hip Hop personified). He continues to shout out other prominent black rock artists, including Jimi Hendrix and Albert King, as well as artists outside of the genre he feels epitomise those same messages and attitudes, such as John Coltrane, James Brown and Nina Simone. These artists all crafted their sound, shared their message, pushing against any discrimination or dismissal of their talents. After this the song picks up pace into a chaotic and almost angry collision of sounds, with Mos repeatedly yelling "Who am I? Rock and Roll!", drilling this message into the listener. He refuses to be appropriated, fighting back against it with the only thing he and many others possess, their own music.

Following this is 'Know That' featuring Black Star collaborator, Talib Kweli, and it continues many of the themes present on 'Mos Def & Talib Kweli Are Black Star'. It continues Mos ideas of hope and faith in all black people, that they will make "today's solid ground out of yesterday's quicksand" and establish their place within the world, not faltering or failing despite the odds. This is the faith that causes Mos to fear no man in the opening track, a sentiment echoed in Kweli's verse. Following this is the track 'Climb', a return to Mos' soulful approach to singing and a duet with Vinia Mojica. It could build on Mos' hope expressed in the previous track, referring to the rising and climbing up, refusing to be stood over. This is then contrasted with the image of those climbing up trees when being hanged or lynched, a far cry from any hope. These conflicting images of climbing show desperation and hopeless alongside faith, as either could be around the corner in an unforeseeable future.

The track 'Brooklyn' is an ode to the New York MC's place of birth and home. Throughout music history the borough has brought hip hop culture numerous rappers and artists, including Biggie, JAY-Z, Big Daddy Kane and of course Mos himself. He raps over three distinct beats, the first being original production by Ge-ology, over which Mos raps about his childhood and growing up in the slums. The second beat is a recreation of Smif-N-Wesson's 'Home Sweet Home' (who are also from Bucktown) and samples Roy Ayers 'We Live In Brooklyn'. In this verse Mos shifts his attention to the beauty of the dialect, the surroundings (emphasising a combination of "tree line blocks" and "tenements"), before namedropping various areas within the borough. And finally the last verse is rapped over Brooklyn native The Notorious B.I.G.'s 'Who Shot Ya?', as well as featuring an interpolation of BDP's infamous "Brooklyn keep on taking it" from 'The Bridge Is Over', as Mos recognises Brooklyn's world renowned status as a hub of hip hop music. In fact, Mos ends the verse with the line "And one of the greatest MCs was a local cat", a nod to Biggie himself, one of the biggest names of hip hop, who was murdered two years prior to the release of this album. An alternative version of this track also contained Mos freestyling over Raekwon's 'Incarcerated Scarfaces' and Mobb Deep's 'Give Up The Goods', expanding Mos' ode to other New York artists.

Continuing with the theme of home the album moves into the track 'Habitat'. The key ideas of this track can be found in the chorus, "It ain't where you're from, it's where you're at", the idea that a home is not a physical place on the map but a state of feeling, the conditions where you feel most comfort and familiarity. The first verse describes the confinement of surroundings for many, such as cramped projects filled with flaws, with no opportunity to escape as the odds are stacked against residents. Following this the bridge sees him shouting out various US states and cities, as well as London and the world as a whole, moving past the previous confinement into an embrace as travel and freedom. The line "been to many places in my space and time" is a final call to the freedom of moving over the earth and finding home wherever you touch down.

Of course, in Mos Def's world this freedom has it's limits. The following track 'Mr. N*gga' features vocals from Q-Tip, as both artists explain the racism of a modern world. The opening verse describes the success of a rapper, with nice cars, jewellery and an abundance of money. Despite this, the rapper is harassed constantly, as others make assumptions and profile based on the colour of his skin. This includes the police, the press, and numerous others. Mos describes a first class flight in which the flight attendant doesn't believe he is in the right place, as he is the only African American in the area. After Mos establishes he should be here, the attendant, oblivious to her own casual racism, asks the artist for an autograph, despite showing no respect in their previous interaction. Mos' freedom is infringed on a daily basis, he cannot travel comfortably, he cannot drive comfortably and he cannot enjoy his success for fear of discrimination. He states when others are doing well it's success, but "when I start doing it well, it's suspect", as some become suspicious when he does too well. Overall this track showcases the constant undermining of the success of black people.

The most hard hitting and loaded track on this album has got to be the socially conscious masterpiece, 'Mathematics' (produced by DJ Premier). It explores the concept of numbers and the insight they give into the inequalities of of world, and within two verses analyses various social and economic statistics. He once again touches on a fear of the "forthcoming live future shock" of a changing society, as well as the potential of an ever-expanding universe within that change, full of opportunity and escape from the "towering inferno" of earth. He states how Hip Hop has given opportunities to many, passing "social hurdles" and giving increasing power and a voice to the working class population. Continuing Mos shifts his attention to the exploitative ways of the music industry, rapping "I got 16 to 32 bars to rock it, but only 15% of profits ever see my pockets". This use of numbers suggests the continual exploitation of artists, who receive very little for their work compared to CEOs and the businessmen behind art. This is a similar sentiment to the ideas expressed on Rock N Roll, with the constant appropriation of black artists. Following a scratched hook, the second verse is just as loaded as the first. The iconic "4 MCs murdered in the last 4 years, I ain't trying to be the 5th when the millennium is here" also calls upon a fear of the new millennium, whilst also a nod to rappers Tupac, Biggie, Fat Pat and Big L, who, despite their success, were all tragically murdered, sending shockwaves through hip hop culture. This is obviously something that weighs heavily on Mos' mind, the deaths of Tupac and Biggie are similarly brought up in the hook to Black Star's 'Definition'. Continuing this train of thought he shifts focus to the potential killers themselves, referring to them as "young soldiers", victims of the system themselves in a world of high unemployment and trying to stay alive at all costs. This crime to stay alive is made even more apparent in the line "Bubbling crack, jewel theft and robbery to combat poverty". Of course, this crime becomes profit for some, as the US prison system sees firms get paid of off the incarceration of minorities. To those profiting these criminals are not people, they are just "lines and statistics". Finally the verse ends with the metaphorical "Why did straw break the camel's back? Here's the secret. The million other straws underneath it". This final idea sums up the entire song, that the intense suffering and inequality in the world is a such heavy burden on earth, and whilst an additional straw may not seem like much it could cause society to finally collapse and give in to something entirely different.

The moment the completely instrumental 'May-December' begins the listener gets a much deserved calm following the intensity and volume of ideas within Black On Both Sides. It gives the listener time to think, time to contemplate on just how all the information Mos has given fits into their world. Because it does. This ideas expressed here may just be from one perspective, but they truly encapsulate the feelings of many. And the hopeful tone of this final track also suggests that the message of the album is one of hope, that if enough people envision it, the future is a better place.

Overview:

To me this is the quintessential hip hop album, encapsulating everything that makes the genre so great. The tracks are all inherently political, as Mos' experiences of the world come from the politics of identity and race. I felt the need to do a track by track write up simply because this album, covers so much ground, from racism to global warming, from crime to love, as Mos has crafted a sprawling masterpiece that still manages to hit every issue with precision. Tracks contrast with each other, such as the hope and triumphs within the lyrics of 'Fear Not Of Man' or 'Umi Says' which conflict with the anxiety and fear of 'New World Water' or 'Mathematics'. It's both a celebration and a long sigh of disappointment, with Mos' mind moving efficiently between the joys and ills of the world. He never seems to preach at any point, simply fixing his gaze on certain issues and wryly smiling to himself at the absurdity of it. He makes jokes, twists popular figures of speech and uses quotables that sit in your mind, never leaving and frequently becoming relevant within your own life. This is the genius of Mos Def's words.

In terms of production, what makes this album so unique is it's combination of traditional samples and live instrumentation. Black On Both Sides is often considered as part of the Soulquarian momentum, alongside albums such as Voodoo, Things Fall Apart, Like Water For Chocolate and Mama's Gun. They all share these bugged out, strangely off kilter rhythms and beats, resulting in a starkly unique and funky sound from each. A lot of the album features production from Mos himself, heightening his involvement and capitalising on the rapper's own artistic intentions. Mos produced Fear Not Of Man and Umi Says, as well as contributing production to Hip Hop, Rock N Roll, Climb, Brooklyn, Mr N*gga & May-December, totalling 8 of 17 tracks. One of my favourite elements of the album is the bass lines, also courtesy of Mos who plays the instrument on much of the album. Another recurring contributor to the album is jazz legend Weldon Irvine, who plays keys on multiple tracks, including Fear Not Of Man and Climb (he was also heavily involved in the creation of the Black Star album). Additional production was also done by established legends, such as Diamond D, Ali Shaheed Muhammad and DJ Premier, as well as lesser known producers, including 88 Keys and Ge-ology, who more than hold their own.

Just as Mos was entering the new millennium, we have just taken our first steps into the 2020s. We have been through the future that listeners in 1999 once feared, and now, once again, another uncertain future lies ahead of us. With the looming threat of a virus, a potentially irreversibly damaged climate and near constant conflict, there have been many moments to fear so far within this future. That's why I feel this record is especially relevant today, and that by listening to it one can feel the same hope that Mos Def is drawn to, despite the imposing struggles within each of tracks. It sheds light on relevant issues in a way that makes them less scary and more approachable. So whilst the world we live in may seem dystopian at times it's important to remember that it is still us, human beings, that have the highest level of influence upon it. Whether or not that is ultimately good or bad for the state of the earth is another issue.

Questions:

  • Favourite Track?
  • Favourite Lyrics/Beat?
  • Where does it stand against Mos' other albums?
  • How relevant is this album to the modern world?
  • What does this album mean to the genre of hip hop?
  • Is this truly the last album of hip hop's golden age?
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[FRESH ALBUM] Azizi Gibson - Reaping The Benefits

Posted: 21 Apr 2020 05:40 PM PDT

Billboard Hot 100 Discussion - April 19-25 2020 | Blinding Lights returns to #1

Posted: 21 Apr 2020 09:06 AM PDT

Billboard Hot 100 chart

Position Title Artist ▲/▼ Last week Weeks Charting Peak
1 Blinding Lights The Weeknd ▲+1 2 20 1
2 Toosie Slide Drake ▼-1 1 2 1
3 The Box Roddy Ricch - 3 19 1
4 Don't Start Now Dua Lipa - 4 24 2
5 Say So Doja Cat ▲+3 8 15 5
6 Adore You Harry Styles ▲+1 7 19 6
7 Circles Post Malone ▼-1 6 33 1
8 Life Is Good Future Featuring Drake ▼-3 5 14 2
9 Intentions Justin Bieber Featuring Quavo - 9 10 8
10 everything i wanted Billie Eilish - 10 23 8
11 Someone You Loved Lewis Capaldi - 11 49 1
12 My Oh My Camila Cabello Featuring DaBaby ▲+1 13 19 12
13 The Bones Maren Morris ▼-1 12 30 12
14 Savage Megan Thee Stallion - 14 5 14
15 Memories Maroon 5 - 15 30 2
16 Blueberry Faygo Lil Mosey ▲+2 18 10 16
17 I Hope Gabby Barrett ▲+3 20 16 17
18 Nobody But You Blake Shelton Duet With Gwen Stefani ▲+6 24 14 18
19 Roxanne Arizona Zervas ▼-3 16 24 4
20 Hot Girl Bummer blackbear ▼-3 17 31 11
21 Heartless The Weeknd ▼-2 19 21 1
22 Falling Trevor Daniel ▲+1 23 22 22
23 Level Of Concern twenty one pilots ▲+78 [FRESH] 1 23
24 Dance Monkey Tones And I ▼-3 21 28 4
25 Chasin' You Morgan Wallen ▲+2 27 12 25
26 Roses (Imanbek Remix) SAINt JHN ▲+4 30 4 26
27 Ballin' Mustard & Roddy Ricch ▼-1 26 39 11
28 Heart On Ice Rod Wave ▼-3 25 23 25
29 High Fashion Roddy Ricch Featuring Mustard ▲+2 31 16 20
30 death bed Powfu Featuring beabadoobee ▲+3 33 5 30
31 RITMO (Bad Boys For Life) The Black Eyed Peas X J Balvin ▼-3 28 21 26
32 More Hearts Than Mine Ingrid Andress ▲+5 37 16 32
33 Stupid Love Lady Gaga ▼-1 32 7 5
34 10,000 Hours Dan + Shay & Justin Bieber - 34 28 4
35 Break My Heart Dua Lipa ▲+4 39 3 21
36 WHATS POPPIN Jack Harlow - 36 10 36
37 Catch Brett Young ▼-8 29 12 29
38 Sunday Best Surfaces ▲+6 44 7 38
39 BOP DaBaby ▼-4 35 29 11
40 No Guidance Chris Brown Featuring Drake ▼-2 38 45 5
41 I Love Me Demi Lovato - 41 6 18
42 I Hope You're Happy Now Carly Pearce & Lee Brice ▲+9 51 15 42
43 Slide H.E.R. Featuring YG ▲+2 45 17 43
44 Beer Can't Fix Thomas Rhett Featuring Jon Pardi ▲+10 54 5 44
45 In Your Eyes The Weeknd ▲+2 47 4 16
46 Dior Pop Smoke ▲+9 55 9 30
47 Suicidal YNW Melly & Juice WRLD ▼-4 43 20 20
48 Does To Me Luke Combs Featuring Eric Church ▲+2 50 5 48
49 Hard To Forget Sam Hunt ▼-9 40 3 40
50 Slow Dance In A Parking Lot Jordan Davis ▼-8 42 15 37
51 Find My Way DaBaby ▼-29 22 2 22
52 BEST ON EARTH Russ & BIA ▼-3 49 19 46
53 Sum 2 Prove Lil Baby ▲+3 56 14 16
54 Stupid Again Tory Lanez ▲+47 [FRESH] 1 54
55 After A Few Travis Denning ▲+14 69 3 55
56 Godzilla Eminem Featuring Juice WRLD ▼-3 53 13 3
57 Before You Go Lewis Capaldi ▲+6 63 11 57
58 Supalonely BENEE Featuring Gus Dapperton ▲+3 61 5 58
59 Boyfriend Selena Gomez ▲+42 [FRESH] 1 59
60 Walk Em Down NLE Choppa Featuring Roddy Ricch - 60 4 57
61 BELIEVE IT PARTYNEXTDOOR & Rihanna ▼-3 58 3 23
62 Yo Perreo Sola Bad Bunny ▼-3 59 5 53
63 Turks NAV, Gunna & Travis Scott ▼-17 46 3 17
64 Broke In A Minute Tory Lanez ▲+37 [FRESH] 1 64
65 You should be sad Halsey ▼-13 52 14 26
66 Come Thru Summer Walker & Usher ▲+2 68 16 42
67 Homemade Jake Owen ▼-10 57 12 39
68 Heartless Diplo Presents Thomas Wesley Featuring Morgan Wallen ▼-3 65 12 65
69 Tusa Karol G & Nicki Minaj ▼-3 66 20 42
70 P*$$y Fairy (OTW) Jhene Aiko - 70 13 40
71 OUT WEST JACKBOYS Featuring Young Thug ▲+2 73 14 38
72 Be A Light Thomas Rhett Featuring Reba McEntire, Hillary Scott, Chris Tomlin & Keith Urban ▼-1 71 2 71
73 If The World Was Ending JP Saxe Featuring Julia Michaels ▲+10 83 3 73
74 Myron Lil Uzi Vert ▼-2 72 5 13
75 Bluebird Miranda Lambert ▲+6 81 2 75
76 The Other Side SZA X Justin Timberlake ▼-1 75 7 61
77 What She Wants Tonight Luke Bryan ▼-15 62 17 46
78 Sigues Con El Arcangel x Sech ▲+23 [FRESH] 1 78
79 Here And Now Kenny Chesney ▲+14 93 2 79
80 Die From A Broken Heart Maddie & Tae ▲+21 [FRESH] 1 80
81 Underdog Alicia Keys ▼-2 79 4 69
82 Emotionally Scarred Lil Baby ▲+3 85 7 31
83 That Way Lil Uzi Vert ▲+4 87 7 20
84 DND Polo G ▲+17 [FRESH] 1 84
85 July Noah Cyrus Featuring Leon Bridges ▲+12 97 7 85
86 Safaera Bad Bunny, Jowell & Randy & Nengo Flow - 86 5 81
87 Ridin' Roads Dustin Lynch ▲+4 91 20 47
88 The Man Taylor Swift - 88 8 23
89 Oprah's Bank Account Lil Yachty, Drake & DaBaby ▼-9 80 6 55
90 PTSD G Herbo Featuring Chance The Rapper, Juice WRLD & Lil Uzi Vert ▲+11 [FRESH] 3 38
91 Grace Lil Baby & 42 Dugg ▲+9 100 7 48
92 P2 Lil Uzi Vert - 92 6 11
93 In Between Scotty McCreery ▲+8 [FRESH] 1 93
94 Yummy Justin Bieber - 94 15 2
95 Captain Hook Megan Thee Stallion ▲+6 [FRESH] 2 74
96 Ride It. DJ Regard ▲+5 [FRESH] 1 96
97 B.I.T.C.H. Megan Thee Stallion ▼-15 82 10 31
98 Girl Of My Dreams Rod Wave ▲+3 [FRESH] 1 98
99 B.S. Jhene Aiko Featuring H.E.R. ▲+2 [FRESH] 5 24
100 Boss Bitch Doja Cat ▲+1 [FRESH] 1 100

Billboard 200 chart

Position Title Artist Sales Change Last week Weeks Charting
1 After Hours The Weeknd 70,262 (15,872 pure) -18% 1 4
2 The New Toronto 3 Tory Lanez 63,119 (5,524 pure) -- [FRESH] 1
3 Eternal Atake Lil Uzi Vert 59,991 (617 pure) -14% 3 6
4 My Turn Lil Baby 38,324 (1,032 pure) -16% 4 7
5 YHLQMDLG Bad Bunny 35,244 (818 pure) -17% 6 7
6 Hollywood's Bleeding Post Malone 34,662 (1,005 pure) -2% 9 32
7 Please Excuse Me For Being Antisocial Roddy Ricch 34,156 (510 pure) -3% 7 19
8 The New Abnormal The Strokes 33,770 (21,574 pure) -- [FRESH] 1
9 Pray 4 Love Rod Wave 32,116 (444 pure) -58% 2 2
10 Future Nostalgia Dua Lipa 30,227 (3,404 pure) -17% 8 3
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New Armand Hammer album ‘SHRINES’ releasing June 1st

Posted: 21 Apr 2020 08:40 AM PDT

Instagram post

Release date announced here

Edit: Release date may actually be June 5th

submitted by /u/yeehaweskeddit
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KMD - What a Nigga Know?

Posted: 21 Apr 2020 06:38 PM PDT

Childish Gambino - They Don't Like Me (ft. Chance the Rapper)

Posted: 21 Apr 2020 11:57 AM PDT

[Fresh Video] Missy Elliot - Cool Off

Posted: 21 Apr 2020 04:28 PM PDT

[FRESH] K CAMP - Lottery (Renegade) - T-Pain Remix

Posted: 21 Apr 2020 10:13 PM PDT

Westside Gunn Opens Up On COVID-19 Experience: 'I Thought I Was Going To Die'

Posted: 21 Apr 2020 04:51 AM PDT

[FRESH VIDEO] BLADEE - EVERY MOMENT SPECIAL

Posted: 21 Apr 2020 05:03 AM PDT

[FRESH] NAV-PineSol

Posted: 21 Apr 2020 06:20 AM PDT
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